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Molefi Kete Asante is a truth seeker and a warrior for humanity. His view of mankind is that there is only one “race”, that of Homo-sapiens. To this end, Asante has steadfastly argued for the liberation of the most oppressed of this species. As an Afrocentrist, he believes that everything needed to advance humanity can be found in the wisdom of ancient African teachings. Africa’s Gifts or the Spirit, clarifies and illuminates the power of “Nyanga” which is in itself a gift from mother Africa, one that has been transmitted across generations throughout space and time.

Thought. Activism. Love. These are three words that well characterize the life, career, and contributions of Edmund W. Gordon. Like his mentor W.E.B. Du Bois, Edmund W. Gordon has led a pragmatist line of inquiry, a concern with the practical application of ideas in a universe that's understood to be always changing but still informed by underlying persistent challenges.

The 61 poems here concentrate on some of the most traumatic events in Black history from colonial to contemporary times, from the arrival of enslaved Africans in 1619 to Black revolts, Civil War atrocities, incalculable lynchings, the Tulsa massacre, the brave sacrifices of Rosa Parks, the Freedom Riders, the heroes of school desegregation, the murders of Emmet Till, Dr. King, Fred Hampton, Malcolm X, Trayvon Martin, Michael Brown, George Floyd, Breanna Taylor, Eric Garner, and Tyre Nichols. And so many other Black tragedies. Each poem here carries a brief head note identifying the person, place, time, or event that addresses the historical context of the poem. Some poems are written in a his/her recollection of the historical event. Above all, each poem highlights the topography of Black trauma, be that a Civil War fort, a lynching tree, a prison, a school, an island, a ghetto, a river, a national monument, a church, or city street. These resistance poems are chronicles, laments, petitions, heroic recollections about racial attacks on Black people in America.

BUT PAUSE ON KING,begin talking to folks, and the clutter, the noise of the rest of America falls away, and you are transported beyond the sometimes battered facade into black America that, with astonishing welcome, reveals itself as not only more powerfully whole. Many black people have moved beyond the neighborhoods through which King runs (though are now King streets in new black suburbs), but few live beyond the reach of the sounds, sentiments, and stories rooted on King. One King street leads to the next and next and back again. For many whites, a street sign that says Martin Luther King tells them they are lost. For many blacks, a street sign that Martin Luther KIng tells them they are found.

The Chicago Literary Hall of Fame has partnered with Chicago publishers After Hours Press and Third World Press to produce a definitive collection of poetry by living Chicago poets. Wherever I’m At: An Anthology of Chicago Poetry features the work of a widely diverse list of over 160 poets and artists all with strong ties to Chicagoland. With a Foreword by noted scholar Carlo Rotello, the new anthology is edited by Donald G. Evans (executive director of the Chicago Literary Hall of Fame) who completed the project begun by the late poet-editor-teacher Robin Metz formerly of Knox College.

With Precise Tenderness, Kalamu ya Salaam, our long-cherished cosmic deputy, has gifted us another amazing collection of poetry. This volume is a unique exploration of haiku fueled by his seemingly boundless imagination, deft wordplay, and Black Aesthetic wanderings. This creative master artfully paints the page while orchestrating blues/jazz/gospel soundings. "Falling is minor," writes the poet in Haiku #13. What's major is how the poet soars and gets our spirits to fly as we read. Whether issuing political commentary, musing about love and self-inspection, or making his characteristic and inevitable visit to erotica, Kalamu ya Salaam is an immensely profound and inspiring craftsperson. This collection is not only precise tenderness. It is precise brilliance.

It is the story of a baby—me—during my first fourteen months, leading up to the birth of David. It’s told from the perspective and in the voice of a baby. Each of this small book’s 101 chapters is imagined. Yet, each is rooted in reality, in facts and feelings.

When I met Toussaint, I was struck instantly by both his name and demeanor. Over the years, it became clear my son-in-law was a new Toussaint, principled warrior, and community leader. This book of poems is an extended conversation between me and his widowed wife, my daughter. So how many Black women have lost life partners, this, however, was not the result of external violence, just the wearing away of his body. Their love remains intact.

The heart of this ambitious and energetic collection is the conscientious and trusted mind of a giving and loving Black artist who in his own way understands history, psychology, economics, politics, and, most of all, the unique power of language in his application of “chord inversions” in the use of serving the urgent needs of Black lives. As a poet and empirical scientist who dances with words, ideas, real life, practical clarifications, and humor, Gilyard challenges his readers to act.